LENI RIEFENSTAHL SİNEMASINI TARTIŞMAK

Leni Riefenstahl, Nazi dönemi sinemacıları arasında en tartışmalı isimlerin başında gelir. Nazi Partisi iktidarı boyunca çektiği filmler, kimi çevrelerce Nazi iktidarıyla işbirliğinin belgesi, kimileri için de salt sanattır. II. Dünya Savaşı sonrası üretimi üzerine yapılan değerlendirmeler ise kimi zaman faşist estetiğin izlerini takip eder, kimi zamansa filmlerini ideolojiden azade imgelere indirger. Yaşamı boyunca filmlerinin ideolojik değerini reddeden ve kendisini uyumun ve güzelliğin yönetmeni olarak savunmaya çabalayan Riefenstahl’in sineması, bu makalede sürdürülen bu iki kutuplu tartışma ekseninde ele alınmaktadır. Riefenstahl’in adı sıkça Nazi dönemi propaganda sinemasına damgasını vuracak olan İradenin Zaferi (1935) ve Olympia I. ve II. Bölüm (1938) filmleriyle anılır. 1970’lerden itibaren ise bir Afrika kabilesi olan Nubaların fotoğraflarını ve sonraki yıllarda sualtını gösteren çekimlerle yeniden gündem olur. Aynı yıllar Riefenstahl için geçmişinin rehabilite edildiği, kendisinin de bir tür Rönesans yaşadığı yeni bir dönemin başlangıcı olur. Riefenstahl’in Nazi dönemi ile bu dönemin öncesi ve sonrası ürettiği estetiği ve imgeleri arasında bir izleğin mevcudiyetine inanan Susan Sontag, bu rehabilitasyon sürecine karşı çıkar. “Sanat sanat içindir” fikri ile göstermenin ve görmenin etiği karşı karşıya gelir. Makale Riefenstahl’in filmlerini, yaşamöyküsünü, söylemlerini ve Sontag’ın müdahalesini esas alarak sinema aracılığıyla faşist propagandanın yapısını ve liberal toplumda etkisini sürdürebildiği çeperi ortaya koymak ve tartışmak niyeti taşımaktadır.

DISCUSSING THE CINEMA OF LENI RIEFENSTAHL

Leni Riefenstahl is one of the most controversial figures among the filmmakers of the Nazi era. The films she made during the rule of the NSDAP are a document of collaboration with the Nazi government for some groups and for others pure art. Reviews of her production after the World War II sometimes follow in the footsteps of fascist aesthetics and sometimes reduce her films to images free of ideology. The cinema of Riefenstahl, who all her life rejected the ideological value of her films and tried to defend herself as a director of harmony and beauty, is discussed in this article on the axis of this bipolar discussion. Riefenstahl's name is often remembered with her films Triumph of the Will (1935) and Olympia Parts I and II (1938). From the 1970s on, she was back on the agenda with the photos of the Nuba, an African tribe, and the underwater photos in the following years. The same years marked the beginning of a new era for Riefenstahl in which her past was rehabilitated and she herself experienced a kind of Renaissance. Susan Sontag, who believes in the existence of a connection between Riefenstahl’s aesthetics and images that she created during the Nazi era and before and after this period, is against this rehabilitation process. The idea of “art for art’s sake” and the ethics of showing and seeing come face to face. The article aims to uncover and discuss the structure of fascist propaganda and the periphery it can maintain in liberal society through cinema on the basis of Riefenstahl's films, biography, statements and Sontag's intervention.

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